Damnée Gus, Sacrée Jason
Hey guys, it's Jason. You may remember me from such blog posts as this one, or perhaps even this one. Here's the deal though - unlike Joe, in his post - I neglected to identify myself as 'not Gus'.
I couldn't help but notice even though Gus is by far the superior Flux-blogger, his profile is far less informative than mine or Joe's. Except to say that he's in the accounting industry and lives in Afghanistan... and those are LIES! Kinda makes you question everything you've read here on our little corner of the internet, doesn't it? Next thing you know he'll be trying to claim this. Although admittedly, that would be pretty cool.
Anyway, as I was saying - I'm not Gus. I'm also not Dave. (ask your favorite Flux-er to explain that joke... although be warned, once you ask, we'll know who your favorite is.)
I know what your thinking, "But Jason... Gus' posts are informative and keep me abreast of what fun and exciting things Flux has been up to! Even Joe's post, although a little wordy, talked about Marisa Tomei. What's the point of your post?"
First off, I would also like to congratulate your thoughts on the appropriate use of the possessive apostrophe there. Way to go. And I'm getting to the point.
I mentioned this briefly at Flux Sunday today, however I'm sure some of you weren't there. (and at Flux Sunday I couldn't provide you with nifty hyperlinks). Last night I went to go see frequent Flux Sunday participant (and Food:Soul vet) Elise Link in Damnée Manon, Sacrée Sandra at Theatre Row, presented by Beyond the Wall Productions. Sorry, I should have said I went to see Elise Link in the show. (you see what I did there? Link? ...taps imaginary microphone... Is this thing on?)
Damnée Manon, Sacrée Sandra reveals the obsessions and desires of it's two title characters, Manon and Sandra, through a series of intertwining monologues -- no doubt a daunting project for all involved (and certainly actor Carlton Tanis and director Danya Nardi deserve to be commended for their work as well). However the night's most heartbreaking, chilling (and often hilarious) moments belong to Elise. We see the heartfelt rigor of Manon's passion and how that which drives her could ultimately destroy her. There were several moments I felt I wasn't given proper time to digest the power of a monologue as the play pushed forward. Very riveting performance.
I'm floored every week by the talent of people that come out on Flux Sundays; writers, directors and actors. It was great to see an actor that I normally see take quick stabs at cold readings and super-quickly staged scenes (and most Flux Sunday participants fall into this category for me) - really shine in a full-staged production. It really excites me to see what everyone can do with our season.
Fortunately I went early in the run of the show, thereby giving all you folks plenty of time to go see it yourself. You have until February 1st -- although not too many nights of performances --and you can get your tickets here. Consider yourself encouraged to do so.
We now return to your regularly scheduled posts of Gus, King of Dogs.